Mastering the Adobe Premiere Pro Timeline Panel – by Richard Har...The timeline panel in Adobe Premiere Pro is where the story comes together. Sure there's standard operations like Insert and Overwrite as well as the ability to Ripple and Roll. But once you dig in, you'll find much more. In this session you'll learn essential operations and advanced features like replace edit, creating custom transitions, and using Adobe Dynamic Link to exchange files with Adobe After Effects and Audition. The session is being run by Richard Harrington of RHED Pixel.

Video is a multi-headed beast that’s constantly screaming to be fed and nourished. You’ve got people in front of the lens, people behind the cameras, and even more behind the scenes. Video projects are complex with multiple stages of approval along the way. You need to control things and have a plan (and even another plan for when that one fails).

Project Management is not unique to video, but it is a critical skill due to the complex interconnected nature of video projects. Chances are that you may have some project management skills… but I want you to go deeper and actually study the formal business practices of project management.

The best decision I made in my professional career as a video producer was to formally study Project Management. I chose to get a master’s degree in it, and it saves me nearly every day. Many schools offer consolidated courses and workshops; you can pursue an educational certificate, or even just start your own independent study.

While I’ll emphasize project management, I mean the business practices. It is important to learn how to balance the scope of the project, track your resources, and maintain budget and quality. Simply buying a project management software package will make you no better a business pro than owning Photoshop will make you a photographer. Software is a tool, not the foundation of a professional career.

We use project management principles to clearly describe the work to be undertaken. We measure progress and track changes so the end budget reflects the work performed. We closely monitor the budget and schedule (as these are often more important or easier for the end client to measure). Quality video is awesome... and the world is filled with talented folks who can make it. Fortunately (for true business professionals) it takes more than just creative talent to make it in the world of video. Business acumen and client management are just as important.

You can download the free eBook "From Still to Motion – The Business Manifesto" to get practical advice for professionals working in video and new media

Almost all motion graphics artists today use After Effects, Photoshop, or Illustrator to some degree in their projects. But how do they decide which tool is best for the job and how can they utilize the various components in the Creative Suite together for the most efficient and effective workflow? This book cuts to the chase and shows readers an in-depth view of the various components in the Creative Suite as best utilized in professional motion graphics projects.

I have an app for my iPhone and iPad that saves my bacon time after time.I pressent to you, the essential and indispensible Sun Seeker: 3D Augmented Reality ViewerBy ozPDAYou see, I often find it difficult to know exactly where the sun is going to be when shooting time-lapse. When will it rise and even more importantly… WHERE!?!FeaturesThis app does several things that let you know a lot of detail about the sun and its position.1. You can use the GPS and magnetometer to find your location and determine sun data based on your position.

2. You can see a compass view that shows solar position, angle, and elevation for both day & night.

3. A map shows you elevation information for each hour in the day.

4. You can see details about sunrise, sunset, dusk, and twilight

5. You can compensate for time shift and enter a future date to use the app while scouting but see into the futureBut the COOLEST feature is by far is the 3D Augmented reality view. You can open the camera on your iPhone or iPad and actually see the horizon with an interactive display. You’ll see a helpful arrow to shot you where the sun is (even if its hidden). You also get a rich overlay which shows you where the sun is moving with times called out. This makes it much easier to frame your shots for time-lapse as well as now where and when the sun will rise or set.

The App sells for $5.99, but is an absolute steal. This hands down makes my time-lapse shooting better as I know how to frame my shots as well as when I need to be in position. Check out the app hereto buy or read more reviews. It is currently available for iPhone 3GS, iPhone 4, an iPad.

While I’m not a road warrior, I easily log 50 flights a year for my job. I’ve had to travel with equipment all over the world for both photo and video projects. Traveling just gets more and more expensive these days. Here are a few rules that I apply to getting there safely with my sanity and equipment intact.

Carry It

I always carry these things onto the plane.

A roll-on bag with all my lenses and camera bodies. I have had luggage stolen, the thieves know what gear bags look like.

A laptop shoulder bag. With laptop, power supply, 2 TB of portable storage, and spare cables for all items.

The Internet. I have an iPad, an iPhone, and a Wireless Modem. Why do I have 3 internet connections at all times? Because its cheaper than paying for WIFI at the airport and hotel. Plus its much more reliable than counting on clients and coffee shops.

A change of clothes. Because your bag will get lost at the worst time

Check It

When it comes to checked luggage, here are some tips to try to stretch your budget.

Look for a grip house. We typically rent lighting equipment and support gear. from a grip house, which are used by the video and motion picture industries.

Why all this hubbub? These days every dollar counts. Clients don’t really look at your rate plus expenses, they just see the bottom line. In my experience, the better a traveler I am, the more money left over to go in my pocket.

This is part two on setting up Photoshop for a video workflow. Be sure to see part one posted yesterday.

Units & Rulers

Under Units & Rulers, modify Photoshop’s measuring system to match video. If you work in a print environment, you can quickly jump back and change your measurement units by double-clicking on the ruler.

Set Rulers to pixels.

Set Type to points.

Ensure that screen resolution is set to 72 pixels/inch.

Ensure that the Point/Pica Size is set to PostScript (72 points/inch) so that type acts like other video applications.

Click Next.

Guides, Grid, & Slices

The next category helps you precisely align design elements.

I find that a Light Red guide is easier to see than the default Cyan.

Set up a grid using Lines with a gridline every 40 pixels and 4 subdivisions. You can now turn the grid off and on from the View menu or from the keyboard using Cmd+" (Ctrl+").

Disable Show Slice Numbers unless you are doing a lot of web work. Slices are used with rollover graphics to trigger button effects on web pages.

Click Next.

Plug-Ins

If you need to travel with your plug-ins on a removable drive (for example a freelance assignment) then you can specify an Additional Plug-Ins Folder.

Click Next.

Type

The Type category consolidates several important type options into one area.

Check the box next to use Smart Quotes if you’ll need true quote marks and apostrophes more than foot and inch marks.

Leave Enable Missing Glyph Protection checked

Choose to Show Font Names in English (or the native language of your software).

Check Font Preview Size and specify a size that you like. The Huge size is helpful if a producer or client frequently sits over your shoulder.

Click Next.

3D

The 3D category controls both the performance and the appearance of Photoshop’s 3D toolset. Stick with the defaults until you master these tools.

Photoshop has its roots as a video and film application. The print—and more recently, web—industries have claimed it as their own. Now it’s our turn. Digital video has emerged as the fastest growing technology area; more and more books and applications are popping up on the shelves, promising solutions for all skill levels. It is my goal to help you reclaim Photoshop and learn to harness its diverse imaging abilities to enhance your video projects. Photoshop has all the tools you need (and many you don’t). Let’s get started by setting up Photoshop to work with our video applications. First we’ll modify its preferences which control how the application functions. To begin, call up your Preferences panel by pressing Cmd+K (Ctrl+K). These Preferences suggestions are based on Photoshop CS5. Most of these options exist in earlier versions of Photoshop, but naming conventions may vary.

Interface

The Interface category groups several preferences together that affect the application’s appearance.

Set UI Font Size set to Medium or Large depending upon the resolution of your display. Use a larger size for bigger monitors.

Leave Show Channels in Color unchecked. This option affects how your channels and images are viewed and diminish the on-screen viewing quality.

Uncheck Enable Gestures if using a laptop (unless you love them).

Click Next.

File Handling

In the File Handling category, you need to make some changes to ensure cross-platform functionality. Even if your shop only uses Macs or PCs, you will work with others who are on other operating systems. Be cross-platform compliant when saving your Photoshop files.

Always choose the Save an Icon and Macintosh or Windows Thumbnail options. This will allow you to quickly locate files through visual cues.

Always append file extension with lower case tags.

Set Maximize PSD and PSB File Compatibility to Always.

Click Next.

Performance

The performance category groups several options together which manage your installed RAM and hard drives.

Memory Usage identifies how much RAM you have installed. Photoshop has a minimum requirement of 1 GB for CS5.

Allow at least 20 History States (levels of Undo). You will vary this number based on RAM and personal experience as you grow less dependent on undos.

Memory will generally not be a big deal because you’ll work primarily with low-resolution sources in this book. However, if you have extra (local) drives, make Photoshop aware of them. Set your emptiest drive as the First Scratch Disk. Ideally you will choose a drive that is not the system (boot) drive.

If you have a robust video card and will be doing a lot of image clean up, then check the boxes for Enable OpenGL Drawing.

Click Next.

Cursors

Photoshop uses specialized cursors to make it easier to know which tool is in use.

Set Painting Cursors to Normal Brush Tip. I personally prefer to check Show Crosshair in Brush Tip. (The Caps Lock key disables this preview feature.)

Set Other Cursors to Precise. This way, you can actually see your sample point for your Eyedropper and Stamp tools.

Click Next.

Transparency & Gamut

Under Transparency & Gamut, you can generally leave these options alone. Personal preferences do vary however.

You can change the grid size to make it easier to see transparent pixels.

You can change the grid color if you despise light gray. You can also disable the grid altogether. Remember, the grid will not print or show up in your video graphics.

NOTE: This is a personal statement and has nothing to do with technology or video. It does have to do with my core beliefs and events that have shaped me. It is opinionated and it is emotional. I originally only posted it to a private Facebook page, but was encouraged to share it. I hope it makes you think and believe that the world can be a better place.

________________________________________________

What I remember most about today was being in a classroom teaching 1 mile away from the Pentagon.

We were just taking a break and a student said that a plane had just crashed into New York City. We were all confused and concerned.

This was before the news groups put much on the net. This was before the web video revolution. We just didn't know.

The first plane hit New York and we were stunned. Then the second and we knew something was terribly wrong.

Soon we could see the smoke and hear the sirens. Rumors that explosions and fires were throughout DC spread. Students were panicked and we had to keep them calm. I had to hold that classroom together and make sure that people didn't leave.

Eventually we all went home... numb. Everyone was driving about 3 miles and hour. All I could think about was my family and loved ones. We couldn't really talk much, couldn't get a phone line. Somehow I let people know that I was OK.

Got home to my wife... we all just sat there in shock. I had to stop watching TV. I couldn't stand to see what was happening.

Through work, I got to help a very important client. The American Red Cross was my client and we put together several important commercials to raise money and help the healing. I remember waiving most of my billing so I could help.

These are real people… not actors. These are true stories that I had the honor to edit.

It was hard to see the pain. Even harder to look at the footage from Ground Zero that the Red Cross had and couldn't share. About a year after the event, I was asked to edit together footage to honor the first responders.

Here is a link to that video... it is very painful for me to watch. But I think it helps people rise above.

What we need now is for the good in people to rise. We need a nation that is united in the belief of making a better world and not one where people just look out for themselves. We need to move past hatred, past partisanship, past economic inequity, and all of the things that just lead to greed and evil.

I'll be a guest on Planet 5D for a live video chat this Monday (9/12) at 9 PM EST

The event is totally free to attend. We'll be talking about some recent DSLR video projects I've done as well as take a sneak peak at some new training that's in the works. The conversation is completely interactive as you can post questions that we'll answer live.

Find other professionals to work with can seem quite daunting at first. This is especially true if you are changing markets or professional focus. It’s important to realize that the film and video community is well established with its own professional groups and even unions. Finding qualified video crew is not difficult (if you know where to look).

Craigslist is Not Your Friend – Before we tackle where to look, lets get where not to look out of the way. I find that Craigslist (and others like it) are filled with ads looking for crews. Nearly all offer no pay (just experience). As such, most professionals don’t even bother looking here for work. It’s hard to find true talent when you’re surrounded by wannabes looking for a handout.

Professional Groups – There are numerous professional groups in most markets. A simple web search may turn up user groups for specific technology like tools from Apple or Adobe. You can also find groups that maintain directories and member programming such as MCA-I, Women in Film, and others.

Grip and Rental Houses – Many markets have grip and rental houses that rent lighting and support equipment used in the production of film and television projects. These places also rent to other video professionals and usually maintain or even staff crews that can be hired. These are great places to start when you need to hire in a different market.

Teaming – Chances are some of your colleagues are also getting into video production. Work with those you know. I have found that collaboration with colleagues works far better than viewing everyone as your competition. Work openly with those you trust and respect and go out of your way to work together. Those who are worth working with will certainly return the favor in some way.

You can download the free eBook "From Still to Motion – The Business Manifesto" to get practical advice for professionals working in video and new media

When working with the Levels adjustment layer, you may have noticed the Auto button. This command button triggers an analysis of the histogram data by Photoshop that is then used to modify the individual controls of the Levels adjustment. In many cases this results in an image that is properly adjusted for color balance and exposure issues. In others it will get you closer to a corrected image.

1. Close any open files, and then Open the file Ch10_Auto_Levels.tif from the Chapter 10 folder on the DVD.2. Add a Levels adjustment layer by clicking the Levels icon in the Adjustments panel.3. Click the Auto button to perform an automated adjustment for the image. The image’s levels and color are adjusted.

4. To refine how the automatic adjustment works, hold down the Option (Alt) key and click the Auto button again. A new dialog box opens.5. Select Find Dark & Light Colors and Snap Neutral Midtones to create a very natural balance of colors for the image.6. Click OK to close the dialog box.

Rinse and Repeat

If you have several images from the same camera or shoot, they may need the same Levels adjustment. The Save button allows you to save a Levels adjustment (to the folder that contains the image is a good place). You can then click the Load button to apply that adjustment to another image.This post is sponsored by iStockphoto

Clientcopia – www.clientcopia.comThis site lets me know that everyone has crazy clients. Good for a laugh and a pick me up.

Basecamp HQ – www.basecamphq.comI use this online project management tool for both my companies. This keeps me organized and ensures open communication with my clients.

Apple Trailers – www.apple.com/trailersI’m a movie junkie. Plus this is an excellent way to see the best lit, best composed shots in the whole movie.

Rafael Concepcion – www.aboutrc.com/blogRC is a helpful author and podcaster who shares his discoveries in great posts. He’s a natural storyteller and very passionate.

Twitter – www.twitter.comI follow a great group of photographers and media pros. This is the water cooler/bar for the digital age. I get news, gossip, and strong opinions. Feel free to follow @rhedpixel and share any news you have with me as well.

Photo Focus – www.PhotoFocus.comThis site is an extensive collection of articles and resources. There are daily posts and I truly enjoy the breadth of coverage.

Screenr – www.Screenr.comIf I need to record a quick tutorial or show a colleague a technique, Screenr is great.

Creative COW – www.creativecow.netThis is where I go to get all of my video questions answered. You’ll find active forums and extensive selection of tutorials and podcasts.

Kelby Training – www.kelbytraining.comThis site offers a large selection of classes and tutorials by some of the top photographers and photoshop users in the world.Mac Rumors – www.macrumors.comI’m an Apple enthusiast. I like to know what’s going on as well as what might be going on in the Apple ecosystem.

Photoshop Disasters – www.psdisasters.comThis is another site that’s good for a laugh. It’s also educational as you can learn from other’s mistakes.

Triple Exposure – www.3exposure.comThis one is a blog I share ... but that doesn’t mean I don’t read it every day. There are great comments and resources all about my three favorite styes of photography – panoramic, HDR, and time-lapse.

How about you? What are your must read sites? I’m always looking for more.

The image on the left is aliased, notice the jagged stair-step edges. The image on the right has anti-aliasing applied to the text.

Did you ever play with Lego building blocks as a child? Perhaps you noticed how hard it was to build an arch or a curve. The best you could achieve still had noticeable stair stepping. Guess what, pixels are just like those building blocks. Curved or diagonal lines will not look good at low resolutions, and you must soften the edge.By choosing to use an Anti-aliasing method, Photoshop will generate smoother results—especially when using selection tools (such as the Quick Selection tool) or vector-based type. Anti-aliasing works by softening the color transition between edge pixels.

Since only the edge pixels are changed, you lose no detail in the image itself. Anti-aliasing is a useful option for creating text, making selections for ﬁlters, or copying and pasting. It will be a recurrent topic throughout this book. You can adjust the anti-aliasing for many tools directly in the Options bar. You should apply this option before a selection is made.This post is sponsored by iStockphoto – Get a free audio track for your video project or photo slideshow http://www.istockphoto.com/freeaudio

In case you haven't picked up An Editor’s Guide to Adobe Premiere Pro, you can now check out a bunch of the book for free. This is the most detailed book on video editing that I've ever worked on, I literally wrote it to retrain my own staff. It is all about realistic workflows and maximizing the entire Production Premium Creative Suite.

Todd Kopriva of Adobe says:“This book is an excellent resource for experienced editors to learn Adobe Premiere Pro. It begins from an assumption that you already know about video editing in general and only need to learn the details of the features and workflows specific to Adobe Premiere Pro and its companion applications.”Here are two free chapters and two appendixes:

The power is in the trim (PDF): details of basic editing and trimming functions, including ripple, roll, slip, and slide edits, as well as use of the Trim Monitor

I just got off the phone with a lovely woman at 1-800-MY-APPLE.Here are the highlights of the call.

Final Cut Studio 3 is back on sale. In fact it’s been available for 4 days.

The studio costs $999 (just like it used to).

If you're a student, that’s $899 (just like it used to).

There are NO other discounts or upgrades that the representative could find.

This product is not on the consumer Apple website. You have to call 1-800-MY-APPLE. According to the representative… she says that there’s been A LOT of calls asking for it to go back on sale… so she was glad to be able to sell it again (instead of telling people no).

So there you have it…. Those of you sitting on older versions of Final Cut Pro can step up (but not upgrade). You’re now set if you needed new licenses to go with that new Mac Pro (oh wait, still waiting for that…).